Modern Art Oxford, 30 Pembroke Street. Oxford, OX1 1BP
I must warn you to be careful not to walk over SUICIDES, or tread on DIVAS, BEAUTIES and BEASTS. And don’t mind the FATUOUS FOOLS and BLOATED EGOS. Review by Aindrea Emelife
Site Gallery, 1 Brown Street, Sheffield, S1 2BS
Momentarily, Site Gallery becomes curator Francesca Gavin’s own mix-tape, a pieced together compilation of artist’s work that furthers the legacy and embellishes the myth of the rave culture that died out in the 90s. Review by Tim Barnes
Grundy Art Gallery, Queen Street, Blackpool, FY1 1PU
Yes surprising is existence in the post-vegetal cosmorama- invites visitors to clamber inside a series of multi-layered interiors and colour-saturated environments whereby the everyday meets the fantastical.
Serpentine Gallery, Kensington Gardens, London, W2 3XA
Marina Abramović’s latest performance extravaganza, '512 Hours' at London’s Serpentine Gallery is reviewed by Belinda Seppings.
Michel François talks about 'Contamination (pommes)' which forms part of the Kadist Art Foundation collection, as well as some recent sculptures and exhibitions, 'Contaminations', 'Pièces à conviction' and the 'scribbles series'. Interview directed by Louis Pierre-Lacouture.
Zabludowicz Collection, 176 Prince of Wales Road, London, NW5 3PT
The Zabludowicz Collection presents four solo shows by sculptors Adriano Costa, Samara Scott, Michael E. Smith and Sam Falls, spanning continents, decades and varying degrees of experience. Review by Joe Turnbull.
CFA Berlin Am Kupfergraben 10, 10117 Berlin Mitte, Germany
In Pettibon's work punks are suddenly dreamy and gay, women become merciless judges and victims of their own agency and gunmen turn into mothers' boys
Contemporary Art Gallery, 555 Nelson Street, Vancouver, Canada
Richardson creates immersive projection environments that question our relationship to the natural world.
The Fruit Market Gallery, 45 Market Street, Edinburgh, EH1 1DF
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Jim Lambie’s new exhibition at The Fruitmarket Gallery, Edinburgh is gutsy and exuberant with the artist’s iconic striped floor-piece setting the tempo. Review by Laura Campbell
Sprüth Magers London, 7A Grafton Street, London, W1S 4EJ
Lawler emphasizes the aspects of viewing art we continually overlook as she makes pointed observations about the art world system, its complex rules and its institutional practices. Review by Aindrea Emelife
Primary Projects, 151 NE 7TH Street, Miami, FL 33132, USA
Pettersson's sprawling layout is a conglomerate of physical associations with cemeteries, shipwrecks, willow forests and seances. Review by Shana Beth Mason
Studio Voltaire, 1a Nelson’s Row, London, SW4 7JR
On the far wall of Studio Voltaire’s main exhibition space hangs ‘Birth of the Universe’ (2014), a large-scale painting by the American artist Judith Bernstein (b.1942). Blood red labia stretch open to reveal a fluorescent yellow cavity and a bright blue spiral. Two white penises ejaculate into the orifice, and it is out of this colourful admixture that the entire universe is born.
Flat Time House, 210 Bellenden Road, London, SE15 4BW
In 'Residency Works' Simon & Tom Bloor revel in the moments where creation and destruction meet. Review by Rachel Guthrie.
South London Gallery, 65-67 Peckham Road, London, SE5 8UH
‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.
